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Hi, I'm new to this site and a big fan of Zimmer. Blade Runner is definitely one of his best works (and don't forget Wallfisch). Anyways, I'm definitely anticipating Denis Villeneuve's upcoming Dune film and I wonder if he'll go to Zimmer to do the project. That would be awesome if that happened.

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nvictor

2018-07-17 14:48:46

what about dunkirk : ) what do you think of it?

Moggyman

2018-07-17 19:42:36

nvictor, I actually think Dunkirk is better than BR2049 for a couple reasons:

1) Even though BR2049 had some interesting themes, most of the soundtrack was too quiet for me and lost my interest during parts of the album. Dunkirk on the otherhand really maintained by interest almost throughout the entire album due to the intensity of the music.

2) BR2049 soundtrack feels like an attempt to mimic Vangelis' Blade Runner score, whereas Dunkirk is original and unique (except the fact that Zimmer's work isn't completely original, which doesn't bother me at all).

At least hans zimmer is back with new 2018 movie music projects like "Widows"(directed by Steven McQueen), Believer(directed by dan Aggort, HBO documental movie) And the Game Battlefield 5(with Lorne Balfe).

1. Wallfisch is a very, very fine composer but his HZ work is not his greatest by any means. Check out IT and Paperboat.

2. Hans does not give a shit anymore - agree.

3. Villeneuve and Johansson worked extremely closely on their previous projects. The decision to go with HZ was WB mandated. How do you think that impacted on a working relationship? Of course, HZ and BW are very professional but....

4. Yeah, the challenges proposed by JJ are too distinct, not to be harvested into a factory for sure.

This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:

1. Enhancing the work of Vangelis for a project he has always admired.2. The chance to work with an absolutely open palette of sounds3. The opportunity to truly reinvent not only film music but MUSIC.4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.

How did Hans fail here?

1. Wallfisch, a very fine composer is not a synth guy.

2. Hans does not give a shit anymore, seriously.

3. An imposed composer on a passion project rarely works

4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.

This is so unexpected and sad. I hope that one day we may be able to listen to what he did for Blade Runner.

RIP

Fares

2018-02-11 21:35:33

I'm very sad for johann I have all his discography and every month waiting news for his new projects I really feel like I lost Hans Zimmer. Rest in peace Johann the peace that you gave us in all this years thank you and I'll never forget you.

Balfe

2018-02-22 15:08:04

This score is probably the largest failure of Zimmer's career - these would have been his objectives - think about it:

1. Enhancing the work of Vangelis for a project he has always admired.2. The chance to work with an absolutely open palette of sounds3. The opportunity to truly reinvent not only film music but MUSIC.4. Ability to work with Denis Villeneuve, a man who gets scores nominated for the fact that they are innovative.

How did Hans fail here?

1. Wallfisch, a very fine composer is not a synth guy.

2. Hans does not give a shit anymore, seriously.

3. An imposed composer on a passion project rarely works

4. Johannson's work on Arrival is so beyond Zimmer's abilities that he had to go secure.

Looks like some of the OST titles are actual cue names. "Shesome" is most likely "Joi","You're Free To Mee Your Daughter" is probably "Tera's In the Rain", which is really Vangelis, "Crushing Joi" when Luv steps on the vile that Joi is stored in. You could figure out several. Any composers beyond HZ/BW attached?

Man, this score has really grown on me in the last few months, especially after seeing the film. While there is a lot of ambient sound design, there are themes and motifs which do propel the story and elevate the visuals. And just like Dunkirk, I almost have to praise it just for the experimental nature it takes. And I honestly still am not crazy about Dunkirk, but in context I can’t think of a more effective score.

Personally, I am glad to see Zimmer and other composers taking more risks with music nowadays. We have so many traditional scores to enjoy, it’s nice to hear something that can be rebellious and maybe unpleasant but different. That’s part of the reason why I love Trent Reznor’s collabs with Fincher. On its own, his music is pretty unique, and in context adds an interesting layer to the films it’s used in.

Also, I’m curious if the little snippets of “Peter and the Wolf” used in the Joi scenes were re-recordings done by Wallfisch or simply just inserts....

Since the movie came out digitally, I'd like to take the chance and express how much I love the score. I've been listening to it since October 6, especially Sea Wall. That 4 note theme is incredible. So many textures and sounds. Benjamin and Hans did a wonderful job. I gotta say, this release is one of the most satisfying releases. No big cues missing (thank goodness).

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Monroe

2017-12-28 16:39:51

I agree but it sounded very like Ghost in The Shell.

Olive

2017-12-28 21:40:31

Both sounded very like the original Blade Runner.

Andy

2017-12-28 22:25:46

They are similar but I feel ghost was more unique .The film did have issues but the score was very good and under appreciated

Olive

2017-12-29 17:02:56

Clearly Ghost is slightly different.It needs to be since film's universe is as well.

Some cues in Sea wall sounds like “A Dark Knight(16:15)” from The Dark Knight

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Olive

2017-12-07 11:46:17

Temp track or Zimmer hands in the cue? Who know?

Olive

2017-12-07 11:50:09

I think that as this project was clearly executed by Wallfisch, it would not be bad to know which cues had the contribution of Zimmer.

Olive

2017-12-07 12:15:24

I saw the comment on the cell phone now and I'm going to rephrase it. I do not say credits here on the site, but in the booklet of the album.

AGreasMusic

2017-12-07 12:37:06

Ghost in The Shell was far superior musically

mpolonest123

2017-12-07 12:52:06

Wallfisch said in some of the interviews that Hans “helped” on Sea Wall cue. How much is beyond me but the opening action rhythms remind me of the Terraformer sound from “Arcade”.

Olive

2017-12-07 14:07:52

Zimmer also said in an interview for the "Variety" that he composed "Mesa"

Olive

2017-12-07 14:13:27

Vanity Fair: “We (he and Ben) got to the end, and I was sitting at my keyboard, and I just had an idea, just a fraction of an idea, but it got the conversation going.” Zimmer owned the same Yamaha CS-80 that Vangelis used to compose for the original 1982 movie, and played a melody that eventually became the “Mesa” track on the score.

CalendarMan

2017-12-07 19:00:30

Sure Mesa must be from Zimmer, as it sounds almost the same as the Main Title from "The Fan".

argh... it's maybe very good in the movie, but very flat without... :-(

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d a r t h

2017-10-07 12:23:37

no real themes, it's more ambiant sounds for elevator or relaxation than real music... it's very sad :-(

1/5

JBSO99

2017-10-07 13:00:01

In the movie, the score is amazing and if you mix this wonderful soundscape with the beautiful imagery you have a very captivating and visually stunning movie (I absolutely loved it). And it's true that the album alone it's a bit simple but after you have watched the movie, the music makes a lot more sense and it's more enjoyable.Anyway, I was expecting something similar to this, maybe a bit more thematic, but in the movie this works perfect, so for me it's okay.

Meta

2017-10-07 15:35:53

I'm notorious for taking a soundtrack score and chopping it up to fit my personal playlist encompassing 30+ years of music....Right now I'm at 13 Gigs. It's a squeeze, but I gotta boil it down to the essentials.

Lets just say out of this entire album runtime I managed to boil Blade Runner 2049 down to 27 minutes of material; And this is only for RIGHT NOW, as I'm sure I'll be making beef jerky out of this score as I find myself listening to less and less tracks as time goes on...

And just an FYI yes, this is without having seen the movie. And while I understand the movie plays an important role with the soundtrack, I dont really design my life around the movie so much as I do the music itself, which to me I use to serve as a personal diary of sorts, so the album itself should be - I would imagine to most music lovers, anyway - a listening experience to be appreciated in and of itself, outside of the film it represents. Yes, I know one goes with the other. But I'm talking about ignoring the film itself and focusing on the emotions the artist interprets into sound. Let's just say I'm the kind of person who doesn't need music with lyrics telling me what or how to feel - I write my own lyrics to music.

For Blade Runner 2049, FOR ME, it's mostly meandering sound design followed by two or three simple themes that don't need an entire CD to represent. Now, I found this to be similar with Dunkirk, but not so much with IT - which I think Wallfisch put more effort into, because I got more out of IT than I did with Blade Runner 2049. I don't know what Zimmer is up to these days with his music, as it seems he's more into doing sound design type music while he lets his other workers do the harder stuff. I get it - He's getting old and probably doesn't want to overexert himself, or he's choosing projects that call for this kind of thing by the director, or maybe he's just not feeling very creative, which is fine. But still - FOR ME - I can't enjoy a score that's weak on themes and is mostly droning sound design.

- Tracks like Mesa and Blade Runner I cut WAY down because it just reprised the same music or just ended in droning sound design noise which mean nothing to me, plus I enjoyed the simple theme from Sea Wall, which seems to be the best theme I think, so the Blade Runner Track (end credits?) I cut down to the final 2 minutes, while Sea Wall I edited down to 7 minutes to cut out all the sound design fat.

Not much else to say, here, really, except:

I found Chappie to be a more inspired score, Vangelis put more effort into the original score than Zimmer did with this, which I find odd considering he says Vangelis was a major inspiration, and not that I'm trying to insult Zimmer and his work, but the the trailer music for Blade Runner 2049 I found more entertaining than the entire score as a whole.

Anyway, that's my take and it's time to move on to Justice League and see what Danny Elfman digs up, clashes with and transfers...OH BOY - that will be an interesting score, I think....

Hybrid Soldier

2017-10-07 16:36:02

You realize most of this score is Ben ? HZ did what he could in between his tour shows. :)

Mortifer V.

2017-10-07 23:19:33

I would also add 'Wallace' and 'Joi' to that list.

JBSO99

2017-10-08 11:54:46

Joi was a really good track and the scene where it appeared was breathtaking. I would also add Pilot.

Meta

2017-10-08 15:37:28

@Hybrid

Wow, didn't know that and I'm actually surprised at that. I understood Zimmer considered it a personal mission, since he said Vangelis was like a sole inspiration for his music...Mind blown.

@Mortifier and JBS - I will give a relisten to Joi, Pilot and Wallace, but from what I heard of those at first glance, they did not stand out - without having seen the movie, of course. I was mostly focusing on the main themes to extract. Joi sounded pretty, but it felt superfluous, Wallace sounded motify with the guttural vocal chanting sounds, but I will check that one out again in context of the film. Pilot....um...Jesus that one is gonna be hard to figure out, as by itself it makes my teeth grate.

Thanks for the input!

Jorn, Norway

2017-10-09 01:23:42

Mesa (08) makes my heart skip a beat. I stop breathing when it comes on screen. Its life itself.

JBSO99

2017-10-09 11:08:20

Meta I talk from the experience of listening the score within the film, because I hadn't listened to the album until I watched the movie. In the album itself the ones that stood out the most were 2049, Wallace, Mesa, Joi, Sea Wall, Tears in the Rain and Blade Runner, but then again, it's after listening to it in context.

Also Wallfisch appears first on the credits of the movie so he had a bigger role in the score than Zimmer.

Meta

2017-10-09 14:25:55

@JBS

In context I can myself listening to tracks like Joi and maybe Wallace or Pilot, but then you would be linking those tracks to the movie memory, and not your own personal memory, which tends to get muddled once you see the movie and the context of the score falls into place. I tend to use the score for my own personal palette first before exposing myself to anything having to do with the source material it is based on.

Haven't seen the movie yet....

JBSO99

2017-10-09 18:36:57

@Meta Yeah, well I most of the times do the opposite. Listen to it first within the movie to see how it works the music as was meant to be in the movie, and then I listen to the album itself to get my personal opinion on the score based on how it works in the movie (or TV show or whatever).But there are times when I listen first to the album and I start creating the feelings around the movie even before seeing it. Depends on the score but I always try to listen to it first within the movie.

Hedon

2017-11-15 02:48:46

I think we all know that if Hans had the time to do this himself, which was impossible as he was on tour, the score would have been much greater, more personal and "Zimmerish". I believe this is a project Zimmer would have loved to put as much of himself into as he possibly could, if he had sufficient time. He is an expert with many many years of experience with synthesizers and synthesizer programming, and he has a shitload of equipment from all eras, even the CS-80! I can think of no better to emulate Vangelis style than him. If anyone is to blame here, it is the director for not realizing this from the start and for not calling in Zimmer earlier in the process.

Also, Wallfisch was a strange choice, given that his background is with orchestral music, and not electronic. Of all composers at RCP, why choose the composer which has the least experience with synthesizers when the director was quite clear that he wanted an all electronic score?

Leonard Dante

2017-11-15 13:57:36

Answer: Dunkirk.

Edmund Meinerts

2017-11-15 15:27:20

Re: why Wallfisch, I feel like Hans kind of goes through these phases of a few years at a time where he has a new "toy" (maybe not the most respectful word :p ) he likes to play with before either he moves on himself, or else the toy in question starts forging their own solo career. From 2009-2013, it was primarily Lorne Balfe. 2013-2016, it was Junkie XL, Mazzaro and Kawczynski. This year it seems to be Wallfisch. A couple years from now, who knows?

Ok, I know we already talk about this before but this is so unclear; this article saids that HZ & BW "maintaining the theme written by Johansson". So, anyone knows what this theme refears to? And there is no reference the Johansson in the credits...

(i can not put the link cause of spam but this is from the interview in Collider "Hans Zimmer Is Now Working on ‘Blade Runner 2049")

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...

2017-12-04 22:03:55

No that was an old report. None of Johansson's work remained.

Anonymous

2017-12-05 03:16:49

thank god

Michaels

2017-12-05 17:20:02

Why did they use the original themes ?Atleast they were memorable.obviously seems Zimmer did not spend time on this soundtrack

Michaels

2017-12-05 17:32:36

Oooops!!! Why didn’t they use the original themes

Ahmad

2017-12-05 17:39:11

What original themes? Johannsson's or Vangelis'?

If the answer is the former then you haven't heard any of Johannsson's material and if it's the latter, then I would say that's not how Villeneuve envisioned for the movie. I think they did a good job with the score. 2049 is so much darker than the original and the score fits so well and when they used Vengelis' material it was absolutely perfect and didn't feel forced at all.

Just my 2 cents!

Andrew

2017-12-05 17:43:52

Vangeles’s themes . They are still so moving and memeorable

Gotham Rogue

2017-12-05 20:37:57

I hate this score hasn't had more attention, it's really perfect for the film and when you listen to it in depth it has several recurring themes.

Ahmad

2017-12-05 21:13:05

My favorite theme is what Ben calls the "Horse Theme" which appears at the end of "2049", "Someone Lived This" and the majority of "Sea Wall". It's gorgeous. This score is so underrated.

hz

2017-12-06 03:55:29

and also variation of horse/soul theme can be heard in sapper's tree, memory and that's why we believe

It's the same 24 tracks divided on two CDs. I'm truly hoping for a nice numbered digipak that separates the limited editions from the regular release otherwise it would be quite a crappy move from the record label.

john

2017-11-20 14:38:23

cd may have been shipped but ups tracking refrence shows up nothing on there site anyone got an ideas at to why this may be many thanks

Hi There just wondering has anyone on here heard anything more on the double cd release from the Blade Runner 2049 website as there now stating a shipping date of 17/11/17 im just a bit concerned about this can anyone shed anymore light

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Geoffrey

2017-11-14 23:17:52

No, neither did I. They don't seem very serious at all. We have to be patient I think. And hopefull.

Thank you for participating in the Blade Runner 2049 pre-order. CDs are in the final stages of production and should be headed to our facility next week. Orders are now expected to ship on or around November 17, 2017. You will receive a shipping confirmation email once your order ships. We apologize for any inconvenience this may cause, and thanks again for your support.